I picked up the Writing Great Books for Young Adults by Regina Brooks from the library last night and have already worked through it and the select exercises provided within. I found it to be a great book because it’s practical, pragmatic, and from the viewpoint of an agent who knows what it takes to make a good story.

There were four exercises in particular that I found helpful: Historical, Emotional, Rebellion, and Wanted.

Historical Exercise

The Historical exercise was all about picking an era and writing a short blurb about someone during that time. Since I’m working on a Civil War book set in my hometown of Columbus, OH, this felt like it should have been a natural fit. I think because I assumed it should be easy, I think I made it difficult! Here is what I came up with, unedited:

It’s just after the Civil War and a teenage girl has been helping with the effort. A staunch Unionist surrounded by Copperheads at school, she despairs of ever fitting in. When she stumbles upon a wounded soldier, she helps him home to take care of him. His memories are gone, but little by little she realizes he might be a Confederate prisoner escaped from Camp Chase.

Something about this felt super flat. But it was more important to get the idea out there, so I went with it.

Emotions Exercise

Then I tried the Emotions exercise, where you were tasked with taking some emotions you remember from your teenage years, and applying them to a character. This is the result of that exercise:

A Unionist teen is rejected by her Copperhead friends now that the war is won. She buries herself in preparations for Lincoln’s funeral procession [to avoid wallowing in sadness] when a wounded Confederate soldier falls into her lap, forcing her to confront ideas of what’s right and fair as she nurses him back to health.

This feels like it has a little more meat to it, if only because it feels more… human. There are emotions involved, people hurt and needing help, and you get a hint of the protagonist’s personality.

Rebellion Exercise

The Rebellion exercise was interesting because it is a lens where you think of a time when you tried/felt like rebelling against your parents…

Forced to stop associating with people she considered her friends, ______ resents her father for breaking her apart from them. She hates these people for following the new rules even while she makes excuses for them. She feels alone, betrayed, unheard, discarded, trapped, rejected, and yet somehow, aloof to it all if it will help her deal.

I didn’t really like that one. It felt kind of whiny.

Want Ad Exercise

The Wanted exercise was fun because it’s all about writing a want ad for your protagonist…

Average-looking, gangly 18-year-old female, unaware of her ability to make anyone feel at home. Questionable manners, average command of English, with a twang from childhood living in countryside. Staunch Unionist, but former friends with Copperheads. Logical-minded. Annoyed by inconveniences. Caring, but clumsy about showing it. Tendency to speak bluntly. Only daughter with younger brother, expected to be responsible and calm while mother fights illness and father returns from war.

I don’t know. Writing all of this out makes me realize how much work I have to do to really get back into writing. I’m fighting my looming frustration and sadness, trying to stay positive about this new book attempt and that I’m not a terrible writer. I have a lot of doubts right now, and as long as I don’t think about them, I can write. As soon as I think of my readers, however, I seem to freak out!

Anyway, feel free to send me your thoughts about these exercises! Email me, comment on Facebook, or here at the blog.

I love pen and paper, and could probably buy out any office supply store in the blink of an eye (that is, if I had unlimited funds, which, thankfully, I do not).

That said, I’m sure it wouldn’t surprise you to hear that I adore Post-it notes. The image in this post shows how I visualize the love triangle(s) from Haunting Miss Trentwood. I would make the image bigger but then it might spoil some of the plot twists!

You see, dear Reader, this is a sort of map for me. I use this to remind me where tensions occur between characters. I’m color code so I know which character is part of which plot or subplot, and then I draw arrows with visuals to tell me the generics about the relationships.

I was thrilled to read Deanna Raybourn’s blog when she said she does something similar: a collage of images that help inspire her current work-in-progress. I love learning other types of writing exercises that don’t—shock!—require you to write. I need to make things because I am a Maker. I need to use my hands while I’m figuring something out, even something as cerebral as a plot twist. And then after I’ve made the thing, I want to share how I did it. Like this.

How to make a Character Map

Grab a tabloid-sized sheet of paper, multiple colors of small sticky notes, a pen, and a pencil.

Write the names of the main characters on different colors of the sticky notes. Try to group the characters based on their primary plot lines.

Play around with the configuration of the character sticky notes on the page until you can get them to fit, and represent the relationships.

Draw arrows from one sticky note to the other to show direct connections.

Use dotted lines to show indirect connections.

Use a pencil because you might make a mistake and try to draw one arrow over another.

To keep the character map legible, try to arrange the stick notes so you won’t have to cross arrows.

Have fun with it! I drew a funny angry face to show antagonists, hearts to show love interests, and broken hearts to show tragedy.

Put the character map somewhere you can glance at when you need inspiration.

I had so much fun with this, I might do it for the relationships I have in my life, and use it as a sort of art piece in my apartment. Or as a way for me to remember who is who at work. Learning the organizational scheme of a new workplace is always so stressful…

“When I have an idea, I turn down the flame, as if it were a little alcohol stove, as low as it will go. Then it explodes and that is my idea.”
– Ernest Hemingway

This quote describes my idea process fairly well. Many of my ideas come from that liminal state of mind between sleep and wakefulness. This can get frustrating, because who remembers to grab a pencil and paper when half-asleep? I’ve trained myself, thankfully, to keep a pad of paper within flailing distance of my bed.

But that’s the end result of an involved idea process. How do ideas begin? I’m a people-watcher, for one. I often will sit in a crowded place with my headphones on, and my music turned down really low so I can hear the conversations around me. This isn’t to spy on people, but rather to grab impressions.

Maybe Lord Hartwell walks like that man, and scratches the back of his head like that little boy. Maybe Mary twitches her nose to the side like that woman when she smells something she doesn’t like. Mr Spencer sneezes like that old man over there, despite his only being 26 years old.

I take these impressions, along with snippets of stories I hear and read throughout the day, and do…nothing. I think about them for a while, try to decide why I find them interesting, and then I continue with my day. As a graduate student, I have a lot to do, so it’s almost never a problem to let my ideas stew.

A couple of days later, my idea will explode like Hemingway’s stove, and I’ll scramble for pen and paper. I’ll write furiously, scratching out words that don’t work because it takes too much time to erase. I’ll feel triumphant if I catch everything in the first attempt, and then I’ll fall asleep with a smile on my face.

The next morning, I’ll wake and examine what I wrote. Sometimes, I’m pleased with it, and decide it will definitely go in the new draft. Sometimes, it’s complete trash, but I tuck it into my journal anyway, because it’s a piece of writing and all writing counts, whether it’s trash or not. Practice makes perfect, right?

How do your ideas come to you? Do they explode into being, or do they sneak in unawares?

A book must be an ice-axe to break the seas frozen inside our soul.
– Franz Kafka

We all know that a story in which nothing bad happens to the character isn’t much of a story. The character needs something to fight against, so the reader has a reason to root for the character. This can be for heroes and villains, believe it or not.

That being said, when you write, who do you keep in mind as you write? The characters? Your overarching plot? Your theme? Your reader? Or all of the above?

When I began Trentwood’s Orphan, I had no idea who or what I was writing for. I simply had a character (Mary Winslow) who, like many of you mentioned in the comments two weeks ago, wouldn’t leave me alone. And that was good enough for me, then.

Now, I find that I’m writing not only to learn more about Mary, but also about how the world affects her and how she affects the world…that world including the reader. Can I make my reader cry? Can I make them frustrated? Will they be drawn into the story and wonder how Mary will get past her grief? Will they be desperate to know whether she will allow love, in any form, to break the seas frozen in her soul?

Some might discount this as a romance thing, only. As in, only in romance would an author try to tease such an emotional response from their reader. I beg to differ. Many a literary fiction has done much worse to me than the majority of the romances I’ve read. And perhaps that’s why I want to bring emotional turmoil, real emotional turmoil, to my romance.

Romance is a part of life, as is tragedy. Oftentimes, they come hand-in-hand. Is this so in fiction? Not always. Does this mean romance and tragedy should never happen together in fiction? Not necessarily.

In fact, if an author can touch me in such a way that I feel as though my very soul was burned, I’m much more likely to recommend the book to a friend. That is what I strive for, something so…fierce, I suppose, that my reader is scorched, forever changed by my writing.

Tell me, is this something you’ve considered? Do you feel breaking the ice of your reader’s soul is applicable to your genre? Explain why or why not, I’m very curious to know how you feel about this.

“When I used to teach creative writing, I would tell the students to make their characters want something right away even if it’s only a glass of water. Characters paralyzed by the meaninglessness of modern life still have to drink water from time to time.”
– Kurt Vonnegut

Tell me what your character wants in your first chapter.

What is their basic want, the one that propels their actions for the first fifty pages of your work?

My main character, Mary, wants a little bit of peace. That’s all she’s asking for. Can it really be that hard, finding peace?

The important thing about this is that I don’t allow peace of any sort to come anywhere near Mary. In fact, I throw more demands on her so she’s not likely to find peace for the entire book.

What is your main character looking for? What about your secondary characters? Your romantic hero, if you have one?

I know there are a number of you reading this blog but for some reason are reluctant to comment…so I’d love to meet you for the first time through this exercise!

I choose my television and movie choices carefully (most of the time). If I listed my favorite tv series, a pattern of character-driven plots will emerge (Pushing Daisies, The Office, Gilmore Girls, 30 Rock, Arrested Development, Dead Like Me…). This makes sense because my fiction is character-driven. Maybe I should watch shows that are more about the plot, so I don’t have blindspots? In any case, today I’m writing about one show and one movie that inspire me, and I hope you’ll share yours!

Pushing Daisies is a delightful, narrated mystery show about a man named Ned who can bring the dead to life with the touch of his finger. There is a catch, however: a second touch will kill the person forever. And it turns out that if Ned lets the person stay alive for more than a minute after his special touch, someone else must die in their place. Things get juicy when he brings his childhood sweetheart back to life. If he lets her live, someone else must die in her place. If he touches her once, ever, she will be dead forever.

Would you believe me if I said this was a comedy? I love this show because of how clever the writers are with Ned and Chuck’s situation (Chuck is short for Charlotte). Thanks to the narrator, the mood is reminiscent of the most recent movie rendition of Willy Wonka and the Chocolate Factory. Really, it’s like sitting down to story time every week. Look for it this fall, I bet you’ll like it.

Now in terms of movies, am I the only one who saw Penelope, that movie starring Christina Ricci? And loved it? This is a fairy tale about a girl cursed with a pig’s nose until she is loved and accepted by one of her own. This movie is straight-forward, and some claim it failed at teh fairy-tale attempt, but this is a movie of characters, each with a motive, each with something to learn. Everyone learns something in this movie (all the main and secondary characters, anyway). I found it charming and refreshing for the simple reason that the heroine is her own hero.

So here’s something I’ve always wondered about my fellow writers/readers. They always say writers should read a lot, a statement I heartily agree with. But what about other media outlets? Do you feel television and movies can inspire you, or does it blunt your creativity? Are there certain shows you watch precisely because it sparks your imagination? Tell all!

Just coming into my three-part series on developing villainous characters? Make sure to read my suggestions in part one and part two!

Give your villain/character a fatal flaw.
There are multiple movies that showcase this trick (Pulp Fiction, Scarface, Star Wars, Indiana Jones, Romancing the Stone), and often it is the fatal flaw that brings the villain to their downfall, rather than the hero being the ultra-smart, ultra-handsome hero that we know he is. It adds complexity if the villain is the reason why he doesn’t win. Here is a great list of phobias to help you.

Give the villain a good side.
Surprise your reader by showing the softer side to your villain so that they’re not so sure he’s such a bad guy after all. If he can show he has a good side, then he gains the reader’s sympathy and suddenly makes things more complicated. Now that’s putting some twists into the mix.

Finally, maintain control over your villain.
Don’t just let him disappear at the end of the book! Give your reader a sense of closure, even if you’re writing a series. Your villain must suffer some sort of punishment/consequence for their actions, fitting to their crimes. Or, better yet, let them get away with a couple of things so the reader gets blindsided.

Thanks for participating! I hope to have another set of series about setting and research, two of my favorite topics. If you have a topic you want to discuss, contact me about guest posting!

Do you have any other tips and hints for developing villainous characters? Leave a comment and let everyone know about it!

Just coming into my three-part series on developing villainous characters? Make sure to read my suggestions in part one!

For part two, we’re going deeper into the mind and actions of the villain. We’re going to try to see the entire plot from the villain’s perspective, push ourselves to the limits, yet attempt to moderate how far we push our villain’s actions. So let’s get going! First and foremost, here is something that really helped me get into the mind of my villain: I suddenly realized that…

The villain in your story is the hero of his own story.
We always hear how we should write each scene from a single point-of-view. That is, no head-hopping to get multiple perspectives within a single scene. This fact helped me realize that if I were to switch around each chapter so that I told the story from the villain’s perspective, rather than the hero’s, I would have a greater, more realized understanding behind the villain’s actions.

By doing this, I grew to love my villain almost as greatly as I love my hero (that is, heroine), and sympathize with him as things didn’t go his way. As I wrote one of the villain’s climaxes, which happens to be different from the heroine’s, I wrote it with tears in my eyes because of the unfairness of it all. Yet, when I wrote the same scene from the heroine’s perspective, I felt sad, but justified.

Which leads me to my next point…

Don’t be afraid to go beyond evil in describing the villains actions.
It seems to me that, as writers, we tend to write what we want to read. At least, that seems to be what I do. And for some reason, readers like to read about particularly bad people and see what happens to them.

I used to be the sort of writer who didn’t make my villain to mean, or his actions too hurtful. I thought there was enough evil in the world, why should I write about it? And then it occurred to me that it is how we face evil that defines the good in us. That led me to writing villains who really do hurt others. But I still held back. I could write the scenes no problem, even chuckling along with the villain as his plans unfurled.

Which meant I wasn’t making him villainous enough. Rather than chuckling, I should have been shaking my head in dismay, because that is the sort of villain I like to read about. I want to see a villain that is cruel, and suffers the consequences for it… but it needs to be bad enough to warrant said consequences. So if you’re cringing while writing a scene, or reacting in some other way, you’re probably doing something right.

That being said, don’t overdo it, either.
Only make your villain as evil as he needs to be for your plot, and no one else’s. A sweet romance like Bright Arrows doesn’t deserve a Hannibal Lector, the same way Barnaby Barnacle from Babes in Toyland wouldn’t do Silence of the Lambs any justice. Determine the theme and purpose of your work to define the level of evil and goodness which should occur. Certain actions and motives won’t work for young adult, others won’t work for inspirational fiction, etc. Read books in your genre to get a feeling for what is appropriate.

For part three, I’ll finish my series on developing villainous characters by helping you flesh out your villain even more by adding unexpected details.

Do you have any other tips and hints for developing villainous characters? Leave a comment and let everyone know about it!

Due to finals, graduating, and spending time with the extended family, I’ve missed about 75% of Eliza’s villain month over at Tales of a Fantasy Scribbler. I did want to participate, but couldn’t commit due to my, uh, other commitments. So here is the first of my three-part series on developing villains, as my way to contribute.

First, research villain archetypes and decide which is the basis for your villain.
To do this, read Stella Cameron’s wonderful villain archetype summary or Tami Cowden’s sixteen villains, and pick your villain’s basis to your heart’s delight. Every character, and therefore villain, most likely fits some sort of generic archetype, at least to help you begin molding.

Now, the nice thing about Stella Cameron’s villain archetype summary is that it suggests generic back-stories that help explain why the villain is the way he is. Use this to your advantage by using this as a template and adding your own details to the mix. Tami Cowden’s sixteen villains, in comparison, has brief descriptions of the villains based on their generic motive and how they might pursue their villainy.

Keep in mind that the best characters have the most detail. For example, we’re fascinated by Hannibal Lector because he is so precise, and unbelievably detailed about his heinous crimes… it is art to him, the ultimate luxury. The luxurious and sensual nature of his descriptions about murder and cannibalism are what fascinate us, despite ourselves. Such a little detail, but a defining one.

So once you’ve determined your archetype, the next step is to add details that make the villain believable, rather than shallow and silly. To do that, you need to…

Give the villain a motive.
This is very similar to #1, but now you actually have to provide the details behind the archetype. Are they a spurned lover? Were they thrown out of their family/job? Do they just not take insults very well? Or all three? Personally, I think the more motive you give the character, the better.

It’s not enough to say he is the ignored second son, for instance, if you’re writing about a bitter villain out for revenge. Sure, maybe the family didn’t treat him the way they treated the firstborn. That happens. But what if the firstborn stole the villain’s girlfriend? Or actively turned his parents against his younger brother, depriving the brother of nurturing, thus turning the younger brother into a villain?

Then again, sometimes it’s nature rather than nurture which turns our character’s villainous. Maybe your villain, for some reason, feels entitled to everything, and when she doesn’t get his way, it’s a personal insult. Or, perhaps she is just the jealous type, and never learned how to control it.

Of course, now that we have a skeleton, of sorts, that gives us an initial definition of your villain, here comes what I think might be the most important step when working on your villain. You need to make sure to…

Devote as much time defining the villain as you do the hero.
The hero and villain are supposed to be antagonists of one another, right? (You should be shaking your head yes.) A synonym of antagonize is “oppose,” meaning they must be opposite and balance one another. But if one character is weaker, then the duo is weak altogether. If you spend three months developing the hero, I hope you’re doing the same for the villain, for the following reasons:

One strong character cannot carry an entire plot.

If you over-develop your hero and under-develop your villain, your characters will fall flat because of the lack of balance.

One weak main character can ruin your plot.

When your readers ask why your character did/did not do something, it’s better to pull out a journal full of details about the character, rather than to sit there blinking.

It’s fun to develop the villain! My next post will go into more detail about why this is, even for those of us who don’t like to hurt our characters (therefore making our villain weak and laughable).

Do you have any other tips and hints for developing villainous characters? Leave a comment and let everyone know about it!

Since I cheated my usual schedule and made my real post yesterday about finishing First Draft B, I’m dedicating this post to a fellow writer-blogger, Eliza W, who’s dedicating her blog to a month of developing villains in fiction.

We don’t remember Scarlett O’Hara for her beauty, we remember her because she survived countless marriages, a war, childbirth, poverty, sickness, the end of the world as she knew it, and heartbreak on a monumental scale. And she’s flawed, boy, is she flawed. And a brilliant character. You either love her, or hate her. So how do you make your own Scarlett?

It should be cliche at this point: Know your character. Sometimes you will only know your character after you’ve thrown a couple of bad situations at them. I really do suggest sitting somewhere with a journal, and ask yourself, “What if…?” What would she do? Who does she turn to? Inward for self-reflection, or outward for comfort?Don’t know what to throw at her? That’s okay, I’ve also provided you with a list of bad things that you can use as a starting point…

Physical adversity. Death, dismemberment, sickness. Everyone will go through at least two of these in their life, so your character better have some experience with at least one of them.

Sometimes this is the worst thing that can happen to your character. But what if it isn’t? Don’t be afraid to pile on the adversity. The worse the situation is, and the more empathetic your character is, the more you hook your reader.

Unfulfilled desire. No one ever gets things the way they want all the time, every time. What if your character is used to getting her way, and one day doesn’t? What if this moment completely alters her understanding of herself and the world around her? What does she do? Does her desire destroy her, does she rise above it? Does she ruin the lives of those around her in her quest to satisfy her desire?

Note this desire doesn’t have to be romantic in nature. In fact, if it isn’t, and you’re writing a romance, what a great twist to your story! Suddenly you’ve added a new dimension to your romance, making it all the more believable. No one in the real world has time to only worry about their romantic life, so why should your characters?

Haunting past. Regrets about things you didn’t do. Regrets about things you did. Each of us is interesting because we have personal histories. For instance, many think I savor my food, or that I just eat slowly. I do this now, but it started because my baby brother choked many times as a child, and one time I panicked instead of remaining calm. My father had to perform the Heimlich even though I’d been trained by the Red Cross. From that moment, I realized how easily it is to be careless and put your life in danger.

See how much you learned about me just by hearing how I eat? The moral of the story is: Don’t discount the little things. They are the collection of moments that create our personalities and fill the prologues of our lives.

Use the time period to your advantage, and against your character’s. The women of today are strong-willed and ready to shout it from the rooftops. The women of yesterday were just as strong-willed, but required the mastery of subtlety or they might suffer the rule of thumb. If your character wants to do something that she just wouldn’t have done in your chosen time period, don’t give it up for the sake of the time period.

Use the frustration to build your character, showing the reader just what sort of a person she is.

What’s really great is when a character surprises herself. But again, you need to know your character well enough to know when she can surprise herself. As a hint, use your research to spark your imagination. Read old newspapers and be amused and shocked by what happened back then. Truth really is stranger than fiction.

I’m using all of these techniques against my character, and while it pains me to write scenes where my character suffers, I’m also ridiculously proud of her stamina against adversity.

So tell me, what is the worst situation you’ve thrown at your characters? And how did you feel while writing those scenes: timid, worried, daring, jubilant?

Summary: Margaret Hale, a English southerner who migrates to Milton, a northern industrial town, is shocked by the working and living conditions of the cotton mill workers who provide the wealth of the young man her father tutors, Mr Thornton. Her determination to help the mill workers puts her at odds with the charismatic Mr Thornton, who dismisses her concerns as the ignorance of highly-bred woman who cannot understand the political and economic reasons why things are the way they are.

Excerpts:
pg 17 – If the look on [Margaret’s] face was, in general, too dignified and reserved for one so young, now, talking to her father, it was bright as the morning,–full of dimples, and glances that spoke of childish gladness, and boundless hope in the future.

pg 62 – Mr Thornton was in the habits of authority himself, but [Margaret] seemed to assume some kind of rule over him at once. He had been getting impatient at the loss of his time on a market-day, the moment before she appeared, yet now he calmly took a set at her bidding.

pg 322 – Oh, how unhappy this last year has been! I have passed out of childhood into old age. I have no youth–no womanhood; the hopes of womanhood have closed for me–for I shall never marry; and I anticipate cares and sorrows just as if I were an old woman, and with the same fearful spirit. I am weary of this continual call upon me for strength.

pg 336 – [Margaret] sat quite still, after the first momentary glance of grieved surprise, that made her eyes look like some child’s who has met with an unexpected rebuff; they slowly dilated into mournful, reproachful sadness; and then they fell, and she bent over her work, and did not speak again. But [Mr Thornton] could not help looking at her, and he saw a sigh tremble over her body, as if she quivered in some unwonted chill. …He gave sharp answers; he was uneasy and cross, unable to discern between jest and earnest; anxious only for a look, a word of hers, before which to prostrate himself in penitent humility. …She could not care for him, he thought, or else the passionate fervor of his wish would have forced her to raise those eyes, but if for an instant, to read the late repentance in his.

Why should you read this book?
I never thought it possible, but this book supplanted Pride and Prejudice as my favorite romance, reasons being that it brings outside philosophical, political, and economic pressures into the romance. The romance is not just that there are misunderstandings and ruined reputations, but that there are actual lives at stake; entire towns that could fall if the mill workers refuse to work; people could be killed in riots; there is communal strife and an inability to communicate between the social classes.

This is an ambitious work that I am head over heels in love with because the prose is poetic, the themes are strong, and the characters sympathetic. Gaskell gives the secondary and tertiary characters all the love, compassion, and motive that is usually reserved for main characters alone. I could go into a detailed analysis of the writing tricks Gaskell uses to appeal to her audience (the sympathetic Victorian woman), such as describing the illnesses of those around Margaret, the way Margaret’s eyes sometimes exhibit a childlike wonder or surprised pain (see pg 336 excerpt above), and the way Margaret shoulders the problems of those around her for that is her role as the daughter in the family (really, this is a brilliant piece of Victorian literature), but I won’t.

I will tell you that if you like reading classics (my childhood was defined by classics, and I desperately miss the feeling of losing myself in that world), you must read this book. If your writing tends toward the classical style, this is a great example to take note of. There are moments when Margaret almost reminds me of Jane Eyre in her contemplations of her role as a female in the world, which makes sense because Mrs Gaskell was actually a sort of social friend of Charlotte Bronte’s. In fact, Mrs Gaskell wrote the first biography of Charlotte, and helped create the rather mythological story behind the woman who wrote such great works as Jane Eyre and Villette.

P.S. The BBC made a two-part miniseries of this book in 2007, and it is excellent. Things have been changed, obviously, to fit the book into a four-hour showing, but it is a great adaptation and the reason why I read the book in the first place.

Just a quick entry to let you know about an interesting discussion that’s happening at Redlines and Deadlines about beta males in fiction/romance.

In case you don’t remember, I wrote a similar entry two years ago, Mr Beta Male, and Romancing the Blog has written about the beta hero as well as his counterpart, the beta heroine. For you writers who are interested in using the underdog in the romance world as the love interest in your WIP, I suggest taking a look at all these articles to make up your mind.

Summary: Emma Wildford, seeing how her society-addled mother ruined her parents’ marriage, decided to live with her practical-thinking father when her family split apart. But now that Emma is interested in marriage, she finds her father jealous of the idea. Both the sensible Captain Ringan and the opportunistic Mr Critchley show interest in Emma, confusing her, and so she turns to her friend Mrs Fry. With Mrs Fry’s help, Emma looks past the immediate pleasures the Regency period to visit the miserable female inmates of Newgate Prison, showing her just how lucky she is, and who she really has feelings for.

Excerpts:
pg 92 – Her eyes, accustomed to the gloom, saw the white scar. He spoke so well that he must once have been a gentleman. What was he now?
“I’m a ruffian, as you well know,” Ringan said. “You are so delightfully open, Miss Emma. Your eyes mirror your thoughts.”
“Father says I’m too much so for my own good.”

pg 137 – Emma let herself into the house and fastened the bolt. He had not moved. She leaned against the glossy panel and listened. There was still no sound of footsteps on the gravel. Something touched the door as though he had slid a hand or arm across it. Her pulse quickened. She wished he would go away. It was altogether too disturbing to know that he lingered. But it was Emma who went first.

Why should you read this book?
I actually found this book in my library while looking for Love in the time of Cholera by Gabriel Garcia Marquez (Marquez’s book was out, for the curious, so I picked up this one). I’ve never read a book by Manners before, but I really enjoyed this. Some characters are flat, but the majority are flush, amusing, and heartening to read. The romance(s) are all interesting, and have a wonderful quality of reality. Manners does little to hide the underside of the Regency, which I love, because it’s different from the typical comedy of manners (no pun intended) we usually see in Regency Romance. A lot of themes are tackled in this book: paternal piety, loyalty, love, murder, prisons, etc; altogether, they make an entertaining and thoughtful read that made me feel better for reading it, which is rare these days.

So about a week ago I read about an author who was having trouble with her hero’s voice… that is, she couldn’t seem to make him actually sound like a man. And then she remembered a great online tool created from an actual study in which some academics discovered men and women do, in fact, speak differently: The Gender Genie. They even came up with an algorithm that predicts whether the person speaking was a man or a woman.

So that got me thinking, “Goodness, I wonder if Alexander sounds like a man or a woman? I think he’s a man, but maybe I’m wrong…” I copied and pasted a series of his chatter into the Gender Genie, provided by the BookBlog. Saints preserve me, the genie thought he was a he! But I only pasted in the first couple hundred words spoken, and the genie says it has a better idea after five-hundred words.

Picture me going through my text and copying my hero’s dialogue from the first 2.5 chapters. Result: my character is a male! But only just so, by two hundred words, more or less. Which worries me. Apparently I also have to take out pronouns and the like, since men tend not to refer to people as much as women do. Apparently men are a little more comfortable talking about objects. Who knew?

Now I know all of you are testing out the tool for yourself, so, you have to tell me… How do your characters fare?

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